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kly

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ichm

ent

Pla

n: W

eek

of M

ay 1

1 G

rade

: 7

Day

1Da

y 2

Day

3Da

y 4

Day

5

Mat

h (4

5 M

inut

es)

Topi

c: U

se S

tatis

tics

and

Gra

phs

to C

ompa

re

Dat

a

YouT

ube

Vide

o:

“Com

parin

g Da

ta D

ispla

ys In

Bo

x Pl

ots”

Ac6v

ity:

Com

pare

Cen

ter a

nd S

prea

d of

Da

ta D

ispla

yed

in B

ox P

lots

(1

3.2

Rete

ach)

Topi

c: U

se S

tatis

tics

and

Gra

phs

to

Com

pare

Dat

a

Ac6v

ity:

Com

pare

Cen

ter a

nd

Spre

ad o

f Dat

a Di

spla

yed

in

Box

Plot

s (13

.2 A

ddiD

onal

Pr

acDc

e)

Topi

c: U

se S

tatis

tics

and

Gra

phs

to

Com

pare

Dat

a

Khan

Aca

dem

y Vi

deo:

“M

ean

Abso

lute

Dev

iaDo

n (M

AD)”

Ac6v

ity:

Com

pare

Mea

ns u

sing

Mea

n Ab

solu

te D

evia

Don

and

Repe

ated

Sam

plin

g (1

3.3

Rete

ach)

Topi

c: U

se S

tatis

tics

and

Gra

phs

to

Com

pare

Dat

a

YouT

ube

Vide

o:

“Com

pare

dat

a us

ing

mea

n an

d m

ean

abso

lute

dev

iaDo

n (C

CSS

6.SP

.B 7

.SP.

B)”

Ac6v

ity:

Com

pare

Mea

ns U

sing

Mea

d Ab

solu

te D

evia

Don

and

Repe

ated

Sam

plin

g (1

3.3

Addi

Dona

l Pra

cDce

)

Topi

c: U

se S

tatis

tics

and

Gra

phs

to

Com

pare

Dat

a

Ac6v

ity:

Mea

sure

s of C

ente

r (pa

ges

126-

127)

Phys

ical

Ed

ucat

ion

(15

Min

utes

)

Phys

ical

Act

ivity

–

•G

o fo

r wal

k/ru

n•

YouT

ube

– K

idz

Bop

Dan

ce•

YouT

ube

– K

ids

Wor

kout

Phys

ical

Act

ivity

–

•G

o fo

r wal

k/ru

n•

YouT

ube

– K

idz

Bop

Dan

ce•

YouT

ube

– K

ids

Wor

kout

Phys

ical

Act

ivity

–

•G

o fo

r wal

k/ru

n•

YouT

ube

– K

idz

Bop

Dan

ce•

YouT

ube

– K

ids

Wor

kout

Phys

ical

Act

ivity

–

•G

o fo

r wal

k/ru

n•

YouT

ube

– K

idz

Bop

Dan

ce•

YouT

ube

– K

ids

Wor

kout

Phys

ical

Act

ivity

–

•G

o fo

r wal

k/ru

n•

YouT

ube

– K

idz

Bop

Dan

ce•

YouT

ube

– K

ids

Wor

kout

Fine

Art

s (1

5 M

inut

es)

Art

Re

ad a

bout

and

resp

ond/

refle

ct o

n ab

stra

ct a

rt a

nd

arDs

t Alm

a Th

omas

Mus

ic

Read

abo

ut a

nd

resp

ond/

refle

ct o

n So

ul

and

Funk

mus

ic, a

nd o

n m

usic

ians

Jam

es B

row

n &

Par

liam

ent F

unka

delic

Art

Cr

eate

orig

inal

abs

trac

t ar

t in

the

styl

e of

Alm

a Th

omas

Mus

ic

List

en, r

espo

nd/r

eflec

t in

wriW

en e

ssay

on

Soul

, Fun

k,

Jam

es B

row

n, P

arlia

men

t Fu

nkad

elic

Art

Co

nDnu

e Ph

oto

Jour

nal

usin

g th

eme

of R

eflec

Dons

_,

ll

l'C

SC

HOOL

M

ETRO

POLI

TAN

CLEV

ELAN

D DI

STRI

C T

W

eekl

y E

nric

hmen

t P

lan:

Wee

k of

May

11

Gra

de: 7

Engl

ish

Lang

uage

A

rts

(6

0 M

inut

es)

Read

ing

Com

preh

ensi

on:

Com

mon

lit: “

Trut

h” b

y N

ikki

Grim

es –

Poe

m a

nd

Com

preh

ensio

n Q

uesD

ons

(prin

ted

in p

acke

ts)

Gra

mm

ar P

rac6

ce: S

pend

15

min

utes

wor

king

on

gram

mar

skill

s. K

han

Acad

emy

– If

you

are

new

to

Kha

n Ac

adem

y Gr

amm

ar,

star

t with

the

Intr

oduc

Don;

if

you

have

bee

n w

orki

ng

on g

ram

mar

alre

ady,

mov

e on

to a

noth

er p

art o

f the

co

urse

. Fol

low

it in

ord

er.

Inde

pend

ent R

eadi

ng:

Read

for 2

0 m

inut

es fr

om

your

nov

el, t

hen

sele

ct tw

o ac

DviD

es fr

om th

e In

depe

nden

t Nov

el A

cDvi

ty

shee

t in

the

prin

ted

pack

et

to c

ompl

ete

this

wee

k.

Opt

iona

l Add

ition

al

Res

ourc

es fo

r th

is w

eek:

W

it an

d W

isdo

m v

ideo

le

sson

s for

mod

ule

4;

Gre

at L

akes

The

ater

V

irtua

l Lea

rnin

g Su

ppor

ts

Rea

ding

Co

mpr

ehen

sion

: Co

mm

onlit

: “I W

ande

red

Lone

ly a

s a C

loud

” by

W

illia

m W

ords

wor

th –

Po

em a

nd

Com

preh

ensio

n Q

uesD

ons (

prin

ted

in

pack

ets)

Vo

cabu

lary

Pra

c6ce

: Sp

end

15 m

inut

es

on M

embe

an: I

f you

are

a

first

Dm

e us

er, f

ollo

w

this

link:

Clic

k He

re fo

r M

embe

an.c

om a

nd

ente

r co

de: C

JNQ

BP

N W

atc

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elp

you

enro

ll h

ttps:

//vi

meo

.com

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5243

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Inde

pend

ent R

eadi

ng:

Read

for 2

0 m

inut

es

from

you

r nov

el, t

hen

sele

ct tw

o ac

DviD

es fr

om

the

Inde

pend

ent N

ovel

Ac

Dvity

shee

t in

the

prin

ted

pack

et to

co

mpl

ete

this

wee

k.

Read

ing

Com

preh

ensi

on:

Com

mon

lit: “

From

Bl

osso

ms”

by

Li-Y

oung

Le

e –

Poem

and

Co

mpr

ehen

sion

Que

sDon

s and

Pai

ring

Que

sDon

s “I

Wan

dere

d…”

and

“Fro

m

Blos

som

s” (p

rinte

d in

pa

cket

s)

Voca

bula

ry P

rac6

ce:

Spen

d 15

min

utes

w

orki

ng o

n vo

cabu

lary

sk

ills o

n M

embe

an

Inde

pend

ent R

eadi

ng:

Read

for 2

0 m

inut

es

from

you

r nov

el, t

hen

sele

ct tw

o ac

DviD

es fr

om

the

Inde

pend

ent N

ovel

Ac

Dvity

shee

t in

the

prin

ted

pack

et to

co

mpl

ete

this

wee

k.

Read

ing

Com

preh

ensi

on

and

WriK

en E

xpre

ssio

n:

This

assig

nmen

t will

take

tw

o da

ys. F

or to

day,

read

th

e te

xt “

Wha

t is a

n U

rban

He

at Is

land

?” W

hile

re

adin

g id

enDf

y th

e pr

oble

m(s

) and

solu

Don(

s)

and

use

the

prov

ided

gr

aphi

c or

gani

zer t

o ca

tch

your

not

es. S

top

here

and

co

nDnu

e w

orki

ng w

ith th

is te

xt a

nd p

lan

for w

riDng

to

mor

row

. (pr

inte

d m

ater

ials

in p

acke

t).

Voca

bula

ry P

rac6

ce: S

pend

15

min

utes

wor

king

on

voca

bula

ry sk

ills

on M

embe

an

Inde

pend

ent R

eadi

ng:

Read

for 2

0 m

inut

es fr

om

your

nov

el, t

hen

sele

ct tw

o ac

DviD

es fr

om th

e In

depe

nden

t Nov

el A

cDvi

ty

shee

t in

the

prin

ted

pack

et

to c

ompl

ete

this

wee

k.

Read

ing

Com

preh

ensi

on

and

WriK

en E

xpre

ssio

n:

ConD

nue

whe

re y

ou le

i off

yes

terd

ay w

ith th

e an

alyz

ing

the

text

“W

hat

is an

Urb

an H

eat I

sland

?”

and

use

the

note

s fro

m

your

wor

k to

writ

e a

prob

lem

solu

Don

essa

y.

Mak

e su

re y

ou tr

y to

find

so

meo

ne w

ho c

an re

view

yo

ur w

ork

or p

roof

read

yo

ur w

ork

your

self

befo

re

prep

arin

g a

polis

hed

final

co

py. (

prin

ted

mat

eria

ls in

pa

cket

). G

ram

mar

Pra

c6ce

: Spe

nd

15 m

inut

es w

orki

ng o

n gr

amm

ar sk

ills.

Kha

n Ac

adem

y

Inde

pend

ent R

eadi

ng:

Read

for 2

0 m

inut

es fr

om

your

nov

el, t

hen

sele

ct

two

acDv

iDes

from

the

Inde

pend

ent N

ovel

Ac

Dvity

shee

t in

the

prin

ted

pack

et to

co

mpl

ete

this

wee

k.

_,

ll

l'C

SC

HOOL

M

ETRO

POLI

TAN

CLEV

ELAN

D DI

STRI

C T

W

eekl

y E

nric

hmen

t P

lan:

Wee

k of

May

11

Gra

de: 7

Scie

nce

(30

Min

utes

) R

evie

win

g: C

hang

es in

Ec

osys

tem

s Po

ints

of V

iew

: Cha

nges

in

Ecos

yste

ms

1.

This

wee

k, y

ou w

ill re

ad

thro

ugh,

cho

ose

and

begi

n to

wor

k on

one

of t

he si

x vi

ewpo

ints

list

ed. Y

ou w

ill

com

plet

e th

e as

signm

ent

on th

e re

mai

ning

day

s (T

uesd

ay –

Thu

rsda

y).

Sele

ct o

nly

one:

Voca

bula

ry C

hoos

e tw

o te

rms f

rom

the

follo

win

g lis

t: su

cces

sion,

pio

neer

sp

ecie

s, e

utro

phic

aDon

, an

d bi

odiv

ersit

y. In

clud

e th

e tw

o te

rms y

ou c

hoos

e in

a si

ngle

rap,

poe

m, o

r sh

ort s

ong.

With

in th

e ra

p,

poem

, or s

hort

song

, you

m

ust c

lear

ly st

ate

a de

finiD

on fo

r eac

h te

rm,

and

spec

ifica

lly st

ate

the

rela

Dons

hip

betw

een

the

two

term

s you

hav

e ch

osen

. Sh

are

your

rap,

poe

m, o

r so

ng w

ith y

our f

amily

.

Or E

xam

ples

Re

sear

ch

to id

enDf

y on

e sp

ecifi

c ex

ampl

e of

prim

ary

succ

essio

n an

d on

e sp

ecifi

c ex

ampl

e of

se

cond

ary

succ

essio

n th

at h

ave

occu

rred

in

the

past

or a

re c

urre

ntly

oc

curr

ing.

Exa

mpl

es c

an

be fr

om a

nyw

here

. For

ea

ch e

xam

ple,

writ

e a

para

grap

h de

scrib

ing

the

chan

ges.

O

r Ana

lysi

s S

ome

ecos

yste

m c

hang

es

occu

r ove

r hun

dred

s of

year

s. Im

agin

e th

at y

ou

are

a pa

rt o

f a te

am o

f sc

ienD

sts w

ho h

ave

been

as

signe

d to

dev

elop

a

data

base

abo

ut w

orld

ec

osys

tem

s. T

his

info

rmaD

on w

ill b

e st

ored

so th

at fu

ture

sc

ienD

sts w

ill h

ave

accu

rate

info

rmaD

on

abou

t eco

syst

ems o

f the

pa

st. W

hat c

ateg

orie

s of

info

rmaD

on a

bout

ec

osys

tem

s wou

ld y

ou

stor

e? W

hat k

eyw

ords

w

ould

you

use

so th

at

futu

re sc

ienD

sts c

ould

ac

cess

this

info

rmaD

on?

Writ

e a

thor

ough

de

scrip

Don

of y

our

data

base

.

Or O

bser

va6o

ns

Iden

Dfy

a pa

rt o

f the

ba

ckya

rd, a

n ar

ea n

ear

your

hom

e, o

r a p

art o

f yo

ur n

eigh

borh

ood.

Set

up

a g

rid th

at o

utlin

es a

n ar

ea a

ppro

xim

atel

y on

e sq

uare

met

er in

size

. Ca

refu

lly o

bser

ve th

e liv

ing

thin

gs th

at y

ou fi

nd

in y

our s

tudy

are

a.

Docu

men

t you

r ob

serv

aDon

s usin

g w

riWen

des

crip

Dons

, sk

etch

es, p

hoto

grap

hs,

or v

ideo

. Pre

sent

you

r ob

serv

aDon

s to

your

fa

mily

or c

lass

whe

n yo

u re

turn

to sc

hool

. O

r Illu

stra

6ons

M

ake

a co

llage

that

show

s im

ages

ass

ocia

ted

with

ec

osys

tem

cha

nge.

The

im

ages

you

cho

ose

mus

t in

clud

e ex

ampl

es o

f bot

h slo

w a

nd su

dden

ec

osys

tem

cha

nges

. Sh

are

you

wor

k w

ith

your

fam

ily a

nd b

e pr

epar

ed to

pre

sent

you

r co

llage

to th

e cl

ass w

hen

you

retu

rn to

scho

ol. F

or

each

imag

e yo

u in

clud

e,

desc

ribe

the

chan

ge in

de

tail,

incl

udin

g in

form

aDon

abo

ut

chan

ges i

n bo

th a

bioD

c an

d bi

oDc

fact

ors.

Or D

etai

ls

Writ

e a

shor

t st

ory

from

the

poin

t of

view

of a

pio

neer

spec

ies.

De

scrib

e yo

ur ro

le

in su

cces

sion,

and

wha

t yo

u ex

perie

nce

as th

e ec

osys

tem

cha

nges

aro

und

you.

Incl

ude

a de

scrip

Don

of y

our i

nter

acDo

ns w

ith

livin

g an

d no

nliv

ing

part

s of

the

ecos

yste

m. B

e cr

eaDv

e,

but i

nclu

de a

ccur

ate

scie

nDfic

det

ails.

Sha

re

your

stor

y w

ith y

our f

amily

or

with

you

r cla

ssm

ates

w

hen

you

retu

rn to

scho

ol.

Use

Frid

ay a

s a d

ay to

ei

ther

fini

sh a

ny

unco

mpl

eted

wor

k,

revi

ew y

our i

nfor

maD

on,

to p

erfe

ct re

sear

ch, o

r pr

acDc

e pr

esen

Dng

your

fin

ding

s to

your

teac

her

and

clas

smat

es.

_,

ll

l'C

SC

HOOL

M

ETRO

POLI

TAN

CLEV

ELAN

D DI

STRI

C T

W

eekl

y E

nric

hmen

t P

lan:

Wee

k of

May

11

Gra

de: 7

Soci

al

Stud

ies

(30

Min

utes

)

Get

Cou

nted

(The

US

Cen

sus)

Firs

t rea

d: G

et C

ount

ed

Read

ing

Page

--Si

de A

& B

N

ext a

nsw

er:

Why

doe

s yo

ur sc

hool

nee

d to

kno

w

the

num

ber o

f stu

dent

s th

at a

Wend

?

Get

Cou

nted

(The

US

Cen

sus)

Read

Sid

e A

& B

of t

he

Read

ing

Page

High

light

the

secD

on

that

pro

vide

s the

fo

llow

ing

info

rmaD

on:

•Ho

wgo

vern

men

toffi

cial

s use

the

resu

lts o

f the

cens

us

Get

Cou

nted

(The

US

Cen

sus)

Com

plet

e Ac

Dvity

Pag

es—

sides

A &

B

Get

Cou

nted

(The

US

Cen

sus)

Com

plet

e Ac

Dvity

Pag

es—

sides

C &

D

Get

Cou

nted

(The

US

Cen

sus)

Co

mpl

ete

the

“OpD

onal

Ac

Dvity

” on

the

Exte

nsio

n Pa

ge

Soci

al

Emot

iona

l Le

arni

ng/

Ref

lect

ion

(15

Min

utes

)

Expl

ore

your

em

oDon

s thi

s w

eek.

Mak

e a

list o

f all

the

emoD

ons t

hat y

ou

expe

rienc

ed th

roug

hout

the

day.

Wha

t mad

e yo

u fe

el th

at

way

? W

hich

em

oDon

did

you

fe

el fo

r mos

t of t

he d

ay?

W

hat a

re so

me

of th

e w

ays

that

you

cop

e w

ith y

our

emoD

ons?

Expl

ore

your

em

oDon

s thi

s w

eek.

Mak

e a

list o

f all

the

emoD

ons t

hat y

ou

expe

rienc

ed th

roug

hout

th

e da

y. W

hat m

ade

you

feel

that

way

? W

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jifun

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uhim

u! Viung

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yo/

rasilim

ali vinap

atikan

a kw

a wan

afun

zi ku

pata m

afun

zo ya lugh

a ya

 kila siku.

•

दैिनक

भाषा िसक्न

महत्त्व

पूणर् छ

! तलका िलंकहरू

/ स्रोतहरू

िवद्याथीर्हरूको ल

ािग दैिनक

भाषा िसक्न

े पहँुच

को ल

ािग उपल

ब्ध छ

न्।

/ طباورلا !مھم

بالطلل ةحاتم ةیلاتلا دراوملا

.يمویلا ةغللا ملعت ىلإ لوصولل

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Individualizing Support for Students in Grades 6-12 For Students Who Struggle with Reading Before Reading:

• For content area reading (nonfiction), provide some background information about the topic addressed in the text. The scholar can go online to look up information on the topic. Have scholar find resources in his/her preferred learning modality (videos, simplified text, activities) and summarize the new information learned.

• Look through the reading passage or book and look at pictures, graphics, and text features such as headings, captions, bolded words, etc. Discuss what you see and make a prediction about what you think will happen. During and after reading, adjust the prediction based on what you read.

• Look through the reading passage or book and identify difficult or unusual words. Have scholar practice decoding these words (reading them aloud). Provide meanings for these words. Create a vocabulary dictionary of these words to refer to later.

During Reading:

• Accommodations: Allow scholar to read aloud if they need to. Provide an audio recording of the text if available.

• Chunking: Read one paragraph or section at a time, and check for understanding by asking student to summarize or paraphrase what was read before moving to the next section.

• Make real-world connections (does the book remind you of something in your life? Another book, a movie, etc.)

• Stop and ask questions while reading. Ask questions with answers that can either be found in the reading or could be predictions about what might happen after the passage/story ends.

After Reading:

• For literature/fiction reading, have your scholar summarize what they read. Use the “5 W’s” o Who was the story/passage about? o What was the story/passage about? Make sure to include the main idea, some details, and

how the story/passage ended § What did the character(s) learn? § What would be a good title for the story/passage? If one is provided already, what

would be a different title you would give the story/passage? o When did the story/passage occur? This would be most important for informative and

historical passages o Where did the story/passage occur? o Why? This can be many things, why did a specific character act in a certain manner? Why

was a decision made? etc. o How? If there was a problem discussed ask how your scholar would have solved the

problem differently, or how did that make you feel? • For nonfiction reading/content area reading, have your scholar summarize what he/she has learned

from the text and how he/she would apply the learning to real life. • Allow an “open book” policy. Make sure that the scholar shows exactly where in the text he/she is

getting the information to answer whatever question has been posed.

For Students Who Struggle with Written Assignments • Have scholar dictate assignments into a phone’s “notes” app or computer with speech-to-text

technology. Most speech-to-text will also respond to commands to add punctuation (by saying “comma,” “period,” etc.). Student can then print out their writing, or copy it into their own handwriting.

• Write one sentence at a time, then have someone read it aloud to make sure it makes sense. • Provide examples of quality writing that meets the task criteria. • Accept a written assignment that is shorter than what is expected, as long as the task criteria are

met. For Students Who Struggle with Math Assignments

• Find a video of someone completing a similar task and have scholar watch it multiple times. Excellent resources for this are YouTube, Khan Academy, and LearnZillion.

• Talk about math: Have student explain a problem and its solution in mathematical terms. Have student teach a skill to another student. If they can teach it, they understand it.

• Accommodations: For tasks that require problem-solving, allow use of a calculator. Teach student how to use the calculator to accurately solve problems with multiple steps. Also provide access to anchor sheets for math procedures that may not be memorized, such as formulas.

• Chunk assignments for easier completion/to ease frustration: If there are 20 math problems to solve, complete 10 and take a break to move around. After the break go back and finish the other 10

• Fractions: use round food items to discuss fractions. Example: Cut a frozen pizza into 8 pieces and talk about pieces individually (1 piece is 1/8) or in parts together (2 pieces is 2/8 or ¼). Compare and contrast pieces of different sizes.

• Graph paper: use graph paper to organize work and problems, and to model mathematical situations visually.

• Manipulatives: any small item can be used as a manipulative to help with basic facts. Examples: coins, blocks, pieces of paper cut into smaller pieces. There are also virtual manipulatives online (Google “virtual math manipulatives”).

• Measurement, Money, and Time: o Bake something and have your child measure out all of the ingredients for the recipe. o Have your child measure different items around the house and compare the sizes (What is

bigger? What is smaller? How many ___ does it take to measure the couch?) o Take a walk outside for a movement break. While walking have them time how long it takes

to go for the walk and get back home. Pick something outside like houses and have them count how many they pass while walking. You can also practice skip counting while you walk (example: for each step you take count by 2s, or 5s, or 10s).

o Create a store using items around your house. Label each item with a dollar amount and have your child “shop” in your store or have them act as the cashier and make change.

o Create a schedule for the day with times attached. Start with times on the hour and then get progressively more difficult with times on the half hour and quarter hour. Give a specific time they can play a game or use tech. This will help work on math skills and will also help keep your child focused on different tasks throughout the day!

• Reference materials: create a number line, hundreds chart, or anchor charts (worked examples) to help with math calculation, counting, and problem-solving.

• Patterns: use blocks or toys of similar colors to make a pattern. Example: 3 red Legos, 2 blue Legos, 3 yellow Legos, repeat.

• Sorting: Gather a group of toys and have your child sort them based on similar attributes (color, size, shape, etc.). Do the same with a set of books and have your child sort them based on fiction vs. nonfiction, type of book, etc.

• Make it fun! Practice math skills using games and things you might already have around the house and turn real-life activities into mathematical opportunities.

o A deck of cards: each person draws 2 cards and then adds, subtracts, or multiply the numbers reflected on the cards.

o Dice: can be used the same way as a deck of cards to work on basic facts or create multi-digit problems to solve.

o Yahtzee: basic addition o Connect Four, Othello: problem solving, and strategic thinking o Puzzles: perfect for working on spatial awareness, which is key to geometry o Monopoly: have your child be the “banker” to work on money skills o Battleship: graphing coordinates o Uno: use numbers on cards to create calculation problems

For Students Who Struggle with Focus, Attention, and/or Study Skills

• Given scholar very clear written (or visual) directions of what to work on and what successful completion of the task looks like. Have scholar self-monitor whether or not he/she has completed all parts of the task.

• Use a timer, starting with a very brief amount of time (even 5-10 minutes is ok). After the timer “beeps,” provide student with a brief break (5 minutes) before continuing. Work to increase the amount of time for each work interval, up to 25 minutes.

• Provide a reward, such as a sticker or carrot, for every successful interval of on-task behavior. • Only give one assignment or task at a time, but also provide scholar with a calendar or daily schedule

to refer to so it is clear what to expect next. • Have older students model study skills for younger children.

Name: Class:

"Rain Storm Colorado Springs Colorado" by David is licensedunder CC BY 2.0

“Truth” from One Last Word: Wisdom from the Harlem Renaissance by Nikki Grimes. Copyright © 2017 by Bloomsbury Publishing Inc.

TruthBy Nikki Grimes

2017

Nikki Grimes is an African American author, poet, and journalist. Grimes is well known for her award-winning books written for children and young adults. This poem appeared in her book One Last Word, acollection inspired by poems from The Harlem Renaissance that follow the "Golden Shovel" form. In thispoetic form, the poet takes a "striking line" from an inspirational poem and uses words from thatinspirational line in a new poem. The striking line then appears, word for word, at the end of the lines in thenew poem. This poem uses the first line of Jean Toomer’s “Storm Ending” as its striking line. As you read,identify the alliteration and the effect it has on the poem.

The truth is, every day we rise is like thunder —a clap of surprise. Could be echoes of trouble, or

blossomsof blessing. You never know what garish1 or

gorgeouslydisguised memories-to-be might rain down from

above.So, look up! Claim that cloud with the silver lining.

Ourjob, if you ask me, is to follow it. See where it

heads.

[1]

[5]

1. Garish (adjective): excessively vivid, showy, or bright

1

Text-Dependent QuestionsDirections: For the following questions, choose the best answer or respond in complete sentences.

1. PART A: Which of the following identifies the theme of the poem?A. Honesty is the key to a good life.B. The weather can help predict the future.C. You can choose to be positive and embrace uncertainty.D. Any day can be a bad day, depending on how you look at it.

2. PART B: Which detail from the text best supports the answer to Part A?A. “The truth is, every day we rise is like thunder — / a clap of surprise.” (Lines 1-2)B. “Could be echoes of trouble, or blossoms / of blessing.” (Lines 2-3)C. “gorgeously / disguised memories-to-be might rain down from above” (Lines 3-4)D. “Our / job, if you ask me, is to follow it. See where it heads.” (Lines 5-6)

3. PART A: How does the author’s word choice contribute to the tone of the poem?A. It conveys how it is better to approach the future with humor.B. It stresses that the future is not always predictable.C. It portrays a sense of anxiety about the future.D. It emphasizes how ominous the unknown is.

4. PART B: Which quote from the text best supports the answer to Part A?A. “The truth is, every day we rise is like thunder —” (Line 1)B. “Could be echoes of trouble, or blossoms / of blessing.” (Lines 2-3)C. “So look up! Claim that cloud with the silver lining.” (Line 5)D. “Our / job, if you ask me, is to follow it.” (Lines 5-6)

5. Alliteration is the repetition of the same letter or sound at the beginning of a word. Howdoes the poet develop the poem’s tone through the use of alliteration?

2

Discussion QuestionsDirections: Brainstorm your answers to the following questions in the space provided. Be prepared toshare your original ideas in a class discussion.

1. In the context of the poem, can we control our fate? How does the speaker suggest readerstake control of the day? Cite evidence from this text, your own experience, and otherliterature, art, or history in your answer.

2. In the context of the poem, how can we achieve happiness? Cite evidence from this text,your own experience, and other literature, art, or history in your answer.

3. How does the poet describe storms in this poem? Do you feel the same way about storms?Why or why not?

3

Middle School: Independent Novel Activities for May 11 – 21 Directions: Choose 2 to complete over the next two weeks.

1. Reader response: Pick the most important word/line/image/object/event in the chapter and explain why you chose it. Be sure to support all analysis with examples.

2. Convention Introduction: You have been asked to introduce the book’s author to a convention of English teachers. What would you say? Write and deliver your speech.

3. Sing me a song: Write a song from any music genre or a ballad about the story, a character, or an event in the book.

4. Write your own: Using the themes in the story, write your own story, creating your own characters and situation. It does not have to relate to the story at all aside from the theme.

5. Open mind: Draw an empty head and inside of it draw any symbols or words or images that are bouncing around in the mind of the character of a story. Follow it up with writing or discussion to explain and explore responses.

6. Change the Point of View: Write a journal response about how the novel would change if it were from a different point of view. If it is in first person, change it to third person, etc.

7. That was then, this is now: After reading the text, create a Before/After list to compare the ways in which characters or towns have changed over the course of the story. Then, write a paragraph explaining reasons why these changes occurred.

8. Daily edition: Using the novel as the basis for your stories, columns and editorials, create a newspaper or magazine based on or inspired by the book you are reading.

Name: Class:

"Daffodils" by Andrew Wilkinson is licensed under CC BY-SA 2.0

“I Wandered Lonely as a Cloud” (1802) by William Wordsworth is in the public domain.

I Wandered Lonely as a CloudBy William Wordsworth

1802

William Wordsworth (1770-1850) was a major English Romantic poet who helped launch the Romantic Agein English literature. In this poem, the speaker describes seeing a field of daffodils. As you read, take noteson the figurative language in the poem and what feelings it develops in the poem.

I wandered lonely as a cloudThat floats on high o'er vales1 and hills,When all at once I saw a crowd,A host, of golden daffodils;Beside the lake, beneath the trees,Fluttering and dancing in the breeze.

Continuous as the stars that shineAnd twinkle on the milky way,They stretched in never-ending lineAlong the margin of a bay:Ten thousand saw I at a glance,Tossing their heads in sprightly2 dance.

The waves beside them danced; but theyOut-did the sparkling waves in glee:A poet could not but be gay,3

In such a jocund4 company:I gazed — and gazed — but little thoughtWhat wealth the show to me had brought:

For oft, when on my couch I lieIn vacant5 or in pensive6 mood,They flash upon that inward eyeWhich is the bliss of solitude;And then my heart with pleasure fills,And dances with the daffodils.

[1]

[5]

[10]

[15]

[20]

1. a valley2. Sprightly (adjective): lively; full of energy3. lighthearted and carefree4. Jocund (adjective): marked by high spirits and liveliness5. Vacant (adjective): lacking thought, reflection, or expression6. Pensive (adjective): engaged in deep or serious thought

1

Text-Dependent QuestionsDirections: For the following questions, choose the best answer or respond in complete sentences.

1. PART A: Which of the following identifies the theme of the poem?A. The beauty of nature brings people pleasure.B. Nature reflects the variety of emotions that humans feel.C. Humans rarely appreciate the beauty of nature that surrounds them.D. Nature is the best inspiration for hopeful artists.

2. PART B: Which detail from the text best supports the answer to Part A?A. “I wandered lonely as a cloud / That floats on high o'er vales and hills,” (Lines

1-2)B. “A poet could not but be gay, / In such a jocund company:” (Lines 15-16)C. “I gazed — and gazed — but little thought / What wealth the show to me had

brought:” (Lines 17-18)D. “In vacant or in pensive mood, / They flash upon that inward eye” (Lines 20-21)

3. How does the poet’s use of sound influence the mood of the poem?A. The poet uses a predictable rhyme scheme to create a cheerful mood.B. The poet uses free verse to create a serious mood.C. The poet uses repetition to develop the feeling that nature is constant.D. The poet emphasizes the pleasures of nature through alliteration.

4. How do the words describing nature in lines 12-14 contribute to the tone of the passage?

2

Discussion QuestionsDirections: Brainstorm your answers to the following questions in the space provided. Be prepared toshare your original ideas in a class discussion.

1. In the past, how has nature influenced your mood? Describe the experience and how itimpacted you.

2. In the context of the poem, what can individuals gain from spending time in nature? How isthe relationship between man and nature portrayed in this poem?

3. In the context of the poem, how do we define beauty? What does the speaker find beautifulabout the daffodils? Cite evidence from this text, your own experience, and other literature,art, or history in your answer.

4. In the context of the poem, how does loneliness affect mood? What experiences might beeasier to appreciate while alone, and why is that the case?

3

Name: Class:

"Untitled" by Jongjit Pramchom is licensed under CC0.

Li-Young Lee, "From Blossoms," from Rose. Copyright © 1986 by Li-Young Lee. Used with the permission of The Permissions Company, Inc., onbehalf of BOA Editions, Ltd., www.boaeditions.org.

From BlossomsBy Li-Young Lee

1986

Li-Young Lee is an American poet who was born in Indonesia to Chinese parents. His family eventuallysettled in the United States after fleeing anti-Chinese attitudes. In this poem, the speaker describes theexperience of biting into a peach. As you read, take note of how the speaker describes peaches and theexperience of eating one.

From blossoms comesthis brown paper bag of peacheswe bought from the boyat the bend in the road where we turned towardsigns painted Peaches.

From laden1 boughs,2 from hands,from sweet fellowship3 in the bins,comes nectar at the roadside, succulent4

peaches we devour, dusty skin and all,comes the familiar dust of summer, dust we eat.

O, to take what we love inside,to carry within us an orchard, to eatnot only the skin, but the shade,not only the sugar, but the days, to holdthe fruit in our hands, adore it, then bite intothe round jubilance5 of peach.

There are days we liveas if death were nowherein the background; from joyto joy to joy, from wing to wing,from blossom to blossom toimpossible blossom, to sweet impossible blossom.

[1]

[5]

[10]

[15]

[20]

1. loaded with something heavy, carrying a lot of weight2. a main branch of a tree3. Fellowship (noun): the company of equals or friends4. Succulent (adjective): juicy flavor, full of juice5. great joy, triumph, or satisfaction

1

Text-Dependent QuestionsDirections: For the following questions, choose the best answer or respond in complete sentences.

1. PART A: Which of the following best identifies the theme of the poem?A. People can find boundless joy in unexpectedly simple moments.B. People should appreciate every moment because some opportunities may

never come again.C. Living in the moment can help drive away fears of the future.D. Even the simplest actions can be meaningful with friends and family.

2. PART B: Which quote from the poem best supports the answer to Part A?A. “From blossoms comes / this brown paper bag of peaches / we bought from the

boy” (Lines 1-3)B. “From laden boughs, from hands, / from sweet fellowship in the bins, / comes

nectar at the roadside” (Lines 6-8)C. “peaches we devour, dusty skin and all, / comes the familiar dust of summer,

dust we eat.” (Lines 9-10)D. “to hold / the fruit in our hands, adore it, then bite into / the round jubilance of

peach.” (Lines 14-16)

3. PART A: What do peaches represent for the speaker?A. a way to remember those who are goneB. gratitude for all lifeC. time together with familyD. the unavoidability of death

4. PART B: Which quote from the text best supports the answer to Part A?A. “peaches / we bought from the boy / at the bend in the road where we turned

toward / signs painted Peaches” (Lines 2-5)B. “From laden boughs, from hands, / from sweet fellowship in the bins, / comes

nectar at the roadside” (Lines 6-8)C. “O, to take what we love inside, / to carry within us an orchard” (Lines 11-12)D. “There are days we live / as if death were nowhere” (Lines 17-18)

2

5. How does the final stanza contribute to the development of the poem’s theme?

3

Discussion QuestionsDirections: Brainstorm your answers to the following questions in the space provided. Be prepared toshare your original ideas in a class discussion.

1. In your opinion, are the moments of happiness that the speaker finds by chance or does heseek them out? Are we in control of deciding which moments bring us happiness?

2. In your opinion, how do simple things provide powerful experiences? Is this something thatonly nature is capable of doing?

3. In the context of the poem, what is good and how do we know it? How do we know ifsomething is beautiful or good? Why does the speaker think the peaches are good? Citeevidence from this text, your own experience, and other literature, art, or history in youranswer.

4. In the context of the poem, who is in control: man or nature? Is the speaker responsible forthe beautiful experience he describes or is nature? Cite evidence from this text, your ownexperience, and other literature, art, or history in your answer.

4

Name: Class: Date:

Pairing Questions for "I Wandered Lonely as a Cloud" and"From Blossoms"

Directions: After reading the texts, choose the best answer for the multiple-choice questions below and respond tothe writing questions in complete sentences.

A. They consume the food that nature has provided.B. They appreciate the beautiful views that nature offers.C. They feel grateful for how nature has affected their mood.D. They find satisfaction in outdoor exploration and adventure.

1. How are the speakers of both “I Wandered Lonely as a Cloud” and “From Blossoms”impacted by nature? [RL.3, RL.9]

2. What claim do both poets make about the connection between nature and happiness? [RL.2, RL.9]

1

4/23/2020 What Is an Urban Heat Island?

https://app.getwritable.com/Prompt/Reading?readingId=eb44c8d4-9084-4192-b645-b33bf320cac2&mode=Preview&embedded=false 1/3

What Is an Urban Heat Island?

An urban heat island occurs when a city experiences much warmer temperatures than nearby rural areas. 

An illustration of an urban heat island. Image credit: NASA/JPL-Caltech

Why does this happen?

An urban area is a city. A rural area is out in the country. The sun’s heat and light reach the city and the country in the same way. The difference in temperature between urban and less-developed rural areas has to do with how well the surfaces in each environment absorb and hold heat.

If you travel to a rural area, you’ll probably find that most of the region is covered with plants. Grass, trees and farmland covered with crops, as far as the eye can see.

Plants take up water from the ground through their roots. Then, they store the water in their stems and leaves. The water eventually travels to small holes on the underside of leaves. There, the liquid water turns into water vapor and is released into the air. This process is called transpiration. It acts as nature’s air conditioner.

An illustration of the process of transpiration. Image credit: NASA/JPL-Caltech

When you visit a big city, you won’t see many plants. Instead, you’ll see sidewalks, streets, parking lots and tall buildings. These structures are usually made up of materials such as cement, asphalt, brick, glass, steel and dark roofs.

What do urban building materials have in common?

First of all, materials such as asphalt, steel, and brick are often very dark colors—like black, brown and grey. A dark object absorbs all wavelengths of light energy and converts them into heat, so the object gets warm. In contrast, a white object reflects all wavelengths of light. The light is not converted into heat and the temperature of the white object does not increase noticeably. Thus, dark objects—such as building materials—absorb heat from the sun.

4/23/2020 What Is an Urban Heat Island?

https://app.getwritable.com/Prompt/Reading?readingId=eb44c8d4-9084-4192-b645-b33bf320cac2&mode=Preview&embedded=false 2/3

Dark surfaces--whether a black t-shirt or an asphalt street--absorb the sun's heat, while lighter colored surfaces reflect heat from the sun. Credit: NASA/JPL-Caltech

To cool down urban heat islands, some cities are ‘lightening’ streets. This is done by covering black asphalt streets, parking lots, and dark roofs with a more reflective gray coating. These changes can drop urban air temperatures dramatically, especially during the heat of summer.

Planting gardens on urban rooftops can also help to cool down the city, too! In fact, a study in Los Angeles, California, calculated that changes like these would be enough to save close to $100 million per year in energy costs!

Urban building materials are another reason that urban areas trap heat. Many modern building materials are impervious surfaces. This means that water can’t flow through surfaces like a brick or a patch of cement like it would through a plant. Without a cycle of flowing and evaporating water, these surfaces have nothing to cool them down.

Skyscrapers in Chicago. Image credit: Flickr user GiuseppeYahoo Cortese

To help cool the heat island, builders can use materials that will allow water to flow through. These building materials—called permeable materials—promote the capture and flow of water, which cools urban regions.

What does it mean?

Urban heat islands are one of the easiest ways to see how human impact can change our planet. After all, sidewalks, parking lots and skyscrapers wouldn’t exist if humans weren’t there to build them. And although these structures are essential to city living, the heat islands they create can be dangerous for humans.

In the summer, New York City is about 7°F (4°C) hotter than its surrounding areas. That doesn’t seem like much, but these higher temperatures can cause people to become dehydrated or suffer from heat exhaustion. The hot temps also require more energy to operate fans and air conditioners. This can lead to power outages and a serious danger to public health.

But, there are things we can do to help cool the cities down. And NASA satellites can help to figure out where these cities are the hottest.

4/23/2020 What Is an Urban Heat Island?

https://app.getwritable.com/Prompt/Reading?readingId=eb44c8d4-9084-4192-b645-b33bf320cac2&mode=Preview&embedded=false 3/3

Caption: These images from the NASA/USGS satellite Landsat show the cooling effects of plants on New York City’s heat. On the left, areas of the map that are dark green have dense vegetation. Notice how these regions match up with the dark purple regions—those with the coolest temperatures—on the right. Image credit: Maps by Robert Simmon, using data from the Landsat Program. 

Earth-observing satellites, such as Landsat and Suomi-NPP, can keep a close eye on the Earth’s vegetation and surface temperature. Scientists can use this information to track hotspots in cities across the planet. NASA scientists, with their global satellite views, are working to understand urban heat islands and help urban planners to build more energy efficient, cooler and safer cities.

From "NASA Climate Kids", https://climatekids.nasa.gov/heat-islands/.

Problem and Solution Graphic Organizers Worksheet

As you read the text, look for problems the character or characters face and the solutions that occur. Fill in all boxes below.

Problem Solution

Problem Solution

Problem and Solution Graphic Organizers Worksheet

Middle School Reading Comprehension and Written Expression: What is an Urban Heat Island? Directions: Write a problem-and-solution essay based on the science article “What is an Urban Heat Island?” Explain the main idea of the article and identify at least one problem and solution described in the article. Cite evidence from the article in your response. Include a brief introduction, at least one body paragraph, and a brief conclusion.

100 105 110 115 120 125 130 135 140 145 150 155 160 165 170 175 180 185Bowling Scores

Rebecca

Eric

0 50 100 150 200 250 300 350 400 450 500 550 600 650 700 750 800 850Prices

Discount Bicycles

Bikeville

0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42Ticket Price

Memorial Theater

Civic Theater

NameLESSON 13.2

Reteach

Compare Center and Spread of Data Displayed in Box PlotsThe box plots summarize the ticket prices for two different theaters.

The length of the box for Civic Theater is greater than the box for Memorial Theater. The length of the right whisker is much greater for Civic Theater than Memorial Theater.

The median ticket price for Memorial Theater is greater than the median ticket price for Civic Theater. The range and interquartile range for Civic Theater are greater than Memorial Theater.

Eric and Rebecca compete in a bowling tournament. Their scores are shown.

Eric: 126, 140, 155, 180, 135, 154, 120, 163, 137

Rebecca: 121, 155, 160, 175, 105, 153, 156, 175, 140

Sketch box plots to represent their scores.

Identify the five key values of each person’s bowling scores.

Eric: Minimum: 120; Q1: 130.5; Median: 140; Q3: 159; Maximum: 180

Rebecca: Minimum: 105; Q1: 130.5; Median: 155; Q3: 167.5; Maximum: 175

Compare the two box plots. Rebecca’s box plot has a greater median and greater spread than Eric’s. The interquartile range of Rebecca’s box plot is greater than Eric’s.

The prices of bicycles at two stores are shown.

Bikeville: 140, 160, 800, 235, 250, 450, 80, 115, 220, 250, 96, 290, 150

Discount Bicycles: 50, 180, 300, 110, 120, 150, 155, 285, 120, 200, 70, 175, 95

1. Sketch box plots to represent the prices of the bicycles.

2. Identify the five key values of each store’s prices.

3. Compare the two box plots.

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MODULE 13 • LESSON 2 119

Name

Compare Center and Spread of Data Displayed in Box Plots

1. The Nobel Prize is awarded to people for remarkable achievement in different areas, including Physics and Chemistry. The data sets below are random samples of the ages at which these awards have been won.

Physics: 63, 25, 32, 59, 38, 40, 88, 44, 80, 44, 45, 48, 49, 53, 70, 85, 53, 54, 71, 56, 59, 63, 69, 80, 49

Chemistry: 36, 83, 39, 68, 42, 77, 85, 42, 69, 44, 45, 48, 72, 48, 50, 84, 50, 54, 75, 54, 56, 70, 54, 60, 72

A. Find the five key values for each data set.

B. Sketch box plots to represent each sample.

C. Compare the centers of the box plots.

D. Compare the spreads of the box plots.

E. What do the box plots tell you about the samples?

F. What do the box plots tell you about the populations?

LESSON 13.2

Additional Practice

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MODULE 13 • LESSON 2 121

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Reteach

Compare Means using Mean Absolute Deviation and Repeated SamplingAika collected data from 10 randomly selected students about the amount of money they have saved. Her data is shown.

320, 190, 45, 120, 30, 90, 115, 200, 140, 120

Find the mean of the data: 320 + 190 + 45 + 120 + 30 + 90 + 115 + 200 + 140 + 12010

= 137

Find the total of the absolute deviations: 604

Find the mean absolute deviation: 60410

= 60.4

The winning times, in seconds, for several swimming races are shown.

93, 95, 102, 91, 104, 93, 95, 98, 97, 102, 92, 96, 92, 104, 100, 98

Find the mean of the data:

93 + 95 + 102 + 91 + 104 + 93 + 95 + 98 + 97 + 102 + 92 + 96 + 92 + 104 + 100 + 9816

Find the total of the absolute deviations: 58

Find the mean absolute deviation: 5816

= 3.625

Find the mean absolute deviation of each data set. Round your answers to the nearest hundredth.

1. 78, 93, 84, 97, 100, 77, 94, 96, 93, 92, 90, 89

2. 140, 115, 190, 205, 120, 140, 160, 200, 210, 190

3. 34, 12, 55, 32, 15, 17, 19, 11, 40, 35, 21, 40, 21, 14, 16

4. 452, 502, 346, 514, 486, 390, 452, 386, 520, 498, 404, 462

= 97

122 MODULE 13 • LESSON 3122

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80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99Grade

Third Period

100

80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99Grade

Fifth Period

100

Name

Compare Means Using Mead Absolute Deviation and Repeated Sampling

1. Mr. Michaels displays the grades that his students earned on a science quiz using dot plots. He organizes the data by class period.

A. What is the mean of each data set? Round to the nearest tenth.

Third period: Fifth period:

B. What are the mean absolute deviations of the data? Round to the nearest hundredth.

Third period: Fifth period:

C. How many times greater, to the nearest hundredth, is the MAD of the data for third period? What does this mean?

2. Two lab groups are each given a bag of identical cubes with colors. The groups are instructed to randomly select 20 cubes and then record the number of red cubes in the sample. They each repeat the process 8 times, and their data is shown below.

Group A 1 0 2 3 3 1 2 4

Group B 2 1 0 3 4 2 3 4

A. What are the mean and MAD of each sample data set? Round to the nearest thousandth.

Group A: mean = MAD =

Group B: mean = MAD =

B. Why do you think the MADs are similar?

LESSON 13.3

Additional Practice

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124 MODULE 13 • LESSON 3

NAME CLASS DATE

126SpringBoard® Course 2 Math Skills Workshop Unit 6 • Mini-Lessons

Measures of CenterWhen analyzing a set of data, mathematicians oftentimes calculate the mean, median, and mode to describe a typical value in the set of data. These calculations are known as the measures of center of a data set.

The mean of a data set is equal to the sum of the values divided by the number of data points. The median is the value in the center when all data points are in order from least to greatest. If there are two values in the center, the median is the mean of those two values. The mode of the data set is the value, if any, that appears the greatest number of times. There can be more than one mode, or no mode, of a data set.

Calculate the mean, median, and mode for the given set of data.

{2, 8, 1, 18, 3, 6, 12, 8, 5}Explanation

Mean 5 2 1 8 1 1 1 18 1 3 1 6 1 12 1 8 1 5 ___________________________ 9 5 63 __ 9 5 7

Median: {1, 2, 3, 5, 6, 8, 8, 12, 18}

There are four values to the left and four values to the right of 6. The median of the data set is 6.

Mode: Since the number 8 appears twice, the mode of the data set is 8.Solution: The mean is 7, the median is 6, and the mode is 8.

EXAMPLE

GUIDED PRACTICECalculate the mean, median, and mode for the given set of data.

{2, 5, 3.5, 1, 12, 8.7, 2, 9.1, 15, 5}Explanation

Mean 5

Median: {1, 2, 2, 3.5, 5, 5, 8.7, 9.1, 12, 15}

There are two values in the center of the data set with four values to the left and four values to the right.

The median of the data set is .

Mode: Since the number and the number each appear twice, this data

set is bimodal. The modes of this data set are and .

Solution: The mean is , the median is , and the modes are and .

C2_ML_11_Measures_of_Center.indd 126 15/10/19 10:16 AM

127SpringBoard® Course 2 Math Skills Workshop Unit 6 • Mini-Lessons

Measures of Center (continued)

PRACTICECalculate the mean, median, and mode for each set of data. Round to the nearest hundredth if necessary.

1. {3, 5, 7, 9, 11, 13}

2. {17, 22, 5, 1, 7, 9, 5, 18, 13, 22, 10, 17, 22}

3. {14, 14, 2.5, 8.6, 1.8, 12.9, 13, 10, 12.9}

4. {100, 56, 84, 20, 70, 92, 28, 40, 67, 31}

C2_ML_11_Measures_of_Center.indd 127 10/10/19 10:47 AM

Name ______________________________________ Date _________

173 © Houghton Mifflin Harcourt Publishing Company

Reviewing: Changes in Ecosystems Points of View: Changes in Ecosystems 1. This week, on Monday you will read through, choose and begin to work on one of the six viewpoints listed below.

You will complete the assignment on the remaining days (Tuesday – Thursday). Use Friday as a day to either finish any uncompleted work, review your information, to perfect research, or practice presenting your findings to your teacher and classmates.

2. Keep your work and be prepared to share your most interesting work when you return to school.

Vocabulary Choose two terms from the following list: succession, pioneer species, eutrophication, and biodiversity. Include the two terms you choose in a single rap, poem, or short song. Within the rap, poem, or short song, you must clearly state a definition for each term, and specifically state the relationship between the two terms you have chosen. Share your rap, poem, or song with your family.

Examples Research to identify one specific example of primary succession and one specific example of secondary succession that have occurred in the past or are currently occurring. Examples can be from anywhere. For each example, write a paragraph describing the changes.

Illustrations Make a collage that shows images associated with ecosystem change. The images you choose must include examples of both slow and sudden ecosystem changes. Share you work with your family and be prepared to present your collage to the class when you return to school. For each image you include, describe the change in detail, including information about changes in both abiotic and biotic factors.

Analysis Some ecosystem changes occur over hundreds of years. Imagine that you are a part of a team of scientists who have been assigned to develop a database about world ecosystems. This information will be stored so that future scientists will have accurate information about ecosystems of the past. What categories of information about ecosystems would you store? What keywords would you use so that future scientists could access this information? Write a thorough description of your database.

Observations Identify a part of the backyard, an area near your home, or a part of your neighborhood. Set up a grid that outlines an area approximately one square meter in size. Carefully observe the living things that you find in your study area. Document your observations using written descriptions, sketches, photographs, or video. Present your observations to your family or class when you return to school.

Details Write a short story from the point of view of a pioneer species. Describe your role in succession, and what you experience as the ecosystem changes around you. Include a description of your interactions with living and nonliving parts of the ecosystem. Be creative, but include accurate scientific details. Share your story with your family or with your classmates when you return to school.

Get Counted (The US Census)

Day 1—

1. Answer: Why does your school need to know the number of students that

attend?

a.) ________________________________________________________

b.) ________________________________________________________

Reading ̶ Side A© 2020 iCivics, Inc.

Get Counted! Name:What is the Census? The census is a count of every person in our country. It’s our government’s way of keeping track of our population. Every ten years, the government does a major count of every family and person, in every community across the country. The results help the government figure out what communities need and who should get what.

How Did the Census Start? Article I, Section 2 of the U.S. Constitution called for a count of each state’s population within three years after the first meeting of the new Congress. (And every ten years after that.) The population count would help our newly founded government figure out how to distribute the number of “seats” (which reflects the number of members) each state would get in the U.S. House of Representatives. That count was the first U.S. census. It happened in 1790. U.S. Marshals from district courts visited every home in the country—which only had thirteen states, three districts, and one territory at the time—and took a count of the men, women and children.

How Does It Work? Since the first census a lot has changed. For one, U.S. Marshals no longer do the counting. Instead, we have a Census Bureau, an organization with thousands of people who work daily to complete the huge task of counting each and every person living in the United States. Every ten years, the Census Bureau distributes census surveys across the country. By March, households receive letters with instructions for how to complete the survey online, over the phone, or by mailing in a paper form. The Census Bureau also sends census workers called “door knockers” to rural areas and to houses that don’t respond to the survey by early April to collect answers in person, too.

What Happens After Everyone Gets Counted?Once everyone is counted, population data is shared with the President and U.S. Congress. States may lose or gain seats in the House of Representatives based on how their population has changed. The process of redistributing the House’s 435 seats among the states is called apportionment, and it only happens after a census count. The seats are redistributed, or reapportioned, according to a representation ratio which helps ensure that each representative represents roughly the same number of people per state. Today, each representative in the House represents a little more than 747,000 people!

The Framers thought the Census was so important they put it at the very beginning of the Constitution!

327,000,000+327,000,000+

There are currently over 327 million people living in the United States.

© 2020 iCivics, Inc.

Get Counted! Name:Who’s Counted?A lot has changed about how people are counted. For one, now everyone is included. The first census counted white males and females and categorized them by age and gender. All other free persons, meaning mostly free blacks, were counted, too, but reported in one single category. Enslaved blacks were grouped into another category—but only counted as 3/5th of a person. Native Americans weren’t counted at all, not until 1870. Today, the Census Bureau counts everyone equally. Your race doesn’t matter and neither does citizenship status. The census count is a resident count, not a citizen count. If you live in the United States (or its surrounding territories), you must be counted.

Is it Hard to Count Everyone?Counting every single person in the U.S. is a colossal task. Special

workers called enumerators are hired by the Census Bureau help ensure an accurate count. But our country has hundreds of millions of diverse people, and some groups are harder to reach than others. Children ages 0-5, people who don’t speak or read English well, the homeless, and some racial minorities have historically been hard for the Census Bureau to count. It’s important to try to

reach “hard to count” communities, because when people aren’t fully counted, their communities miss out on the hundreds of billions of

dollars the federal government distributes based on census data.

What Will the Census Ask?The census only takes about ten minutes to complete. Only one person in your household needs to fill out the form. The census will ask for the number of people who live or stay at your home, their ages, gender, relationship to one another, and race. The census will also ask if each person is of Latino, Hispanic, or Spanish descent and if your family owns or rents your home. Any personal information like your name or address is kept private. The Census Bureau can’t share that information with anyone, not even the FBI!

How Will the Census Affect Me?Data from the census can be used to decide which communities will get money for new schools, better public buses and trains, and even hospitals. Businesses and city planners use the data to decide where to build factories, roads, offices, and stores, which help to create new jobs and improve neighborhoods. And considering that you’ll be old enough to vote before the next census comes along, the results will determine the number of representatives you’ll elect for your state and national governments and the amount of electoral votes your state will have in the 2024 and 2028 presidential elections. Make sure you’re counted!

Reading ̶ Side B

© 2020 iCivics, Inc.

Get Counted! Name:

Foldable

Foldable. Define each word from the lesson and write a sentence using the word. Then sketch an image that will help you to remember it’s meaning in the space under each word. When you’re done, fold and cut your foldable according to the directions and add it to your notebook or binder.

Census

Census Bureau

Apportionment

Representation Ratio

Enumerator

Definition:

Sentence:

Definition:

Sentence:

Definition:

Sentence:

Definition:

Sentence:

Definition:

Sentence:

Fold

Her

e

© 2020 iCivics, Inc.

Get Counted! Name:

You! (How will census data impact you?)

Here’s how the census will impact me...

Activity ̶ Side A

A. Misinformation Fake Out. It’s important that people have correct information about the census. Don’t be fooled by these deceptive social media posts. Read each post and fix it in the space below by sharing a corrected version.

B. The Census & You. Complete the chart by thinking about how each group listed will use the census data and how that data will eventually impact you! Write your answers in the space provided.

The Census & MeHow the Census Affects You...

National Government

The national government will use census data to...

State and Local Government

State and local governments will use census data to...

City Planners

City planners will use census data to...

Businesses

Business will use census data to...

© 2020 iCivics, Inc.

Get Counted! Name:

Activity – Side B

C. Hard to Count. Hard to count communities exist all over the United States and vary from location to location. What do you think would make a community hard to count? Read through some of the possible reasons, then for each group list the factors that could prevent an accurate count and think of possible solutions to overcome them.

• Access to information• Location• Access to resources in

languages other than English

• Lack of permanent address• Inability to complete the form• Fear that information will not be

kept private

GroupWhat do you think

contributes to this group being undercounted?

What could the Census Bureau do to improve their

count of this group?

Children ages 0-5

Homeless

New Residents

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Get Counted! Name:

Activity ̶ Side C

D. Primary Source. Read the excerpt and answer the questions. Some words have been defined for you. Others you’ll have to figure out on your own. (Don’t worry, we know you can do it!)

Article I, Section 2 of the U.S. ConstitutionArticle I, Section 2 of the U.S. Constitution

[Representatives and direct Taxes shall be apportionedapportioned among the several States which may be included within this Union, according to their respective Numbers, which shall be determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years, and excluding (not counting) Indians not taxed, three fifths of all other Persons.]1 The actual EnumerationEnumeration shall be made within three Years after the first Meeting of the Congress of the United States, and within every subsequent (next) Term of ten Years, in such Manner as they shall by Law direct. The Number of Representatives shall not exceed (be greater than) one for every thirty Thousand, but each State shall have at Least one Representative; and until such enumerationenumeration shall be made, the State of New Hampshire shall be entitled (able) to chuse (choose) three, Massachusetts eight, Rhode-Island and Providence Plantations one, Connecticut five, New-York six, New Jersey four, Pennsylvania eight, Delaware one, Maryland six, Virginia ten, North Carolina five, South Carolina five, and Georgia three.1 The 14th Amendment, ratified in 1868, changed the rule that enslaved blacks be counted as 3/5th of a person.

1. How were representatives and direct taxes apportioned among the states?

2. When did the Constitution change to count enslaved blacks as whole persons?

3. In the reading you learned what an enumerator is. Now, use that knowledge and the context clues from the excerpt to write a definition for enumeration.

4. What was the representation ratio set by the U.S. Constitution?

5. How many representatives did each state have before the first census count?

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Activity ̶ Side D

E. Practice Survey. Directions for completing the census will soon be making their way to your door. Practice by answering a few sample questions below. The questions here will cover the first 2 people in your home. The real census will have room for everyone living or staying in your home.

Start here OR go online to complete your 2020 Census questionnaire.Use a blue or black pen.

Directions: Before you begin, use the guidelines here to help you get an accurate count of all the people in your home.• Count everyone, including babies, living

or sleeping in your home.• Count anyone who doesn’t have a

permanent address who is staying with you on April 1st.

• Do not count anyone who lives away from your home on April 1st even if they will return to your home later (i.e. anyone away at college, in the Armed Forces, staying in a nursing home, jail, or prison.)

1. How many people live or stay in your home?

Number of people =

2. Is your house, apartment, or mobile home owned or rented? (Check one) Owned? Rented? Neither?

3. Answer the following questions about each of the people who live in your home. Start by listing the person who pays rent or owns the home as Person 1. If that person does not live in the home, you may start with any person.

Person 1: a. First and Last Name

b. Gender (Check one) Male Female c. Age and Birthday (if the person is less than a year old, write 0 for the age)

d. Hispanic, Latino, or Spanish descent? Yes No e. Race or Ethnicity

Person 2: a. First and Last Name

b. Gender (Check one) Male Female c. Age and Birthday (if the person is less than a year old, write 0 for the age)

d. Hispanic, Latino, or Spanish descent? Yes No e. Race or Ethnicity

Thank you for completing the Sample Census Questionnaire!

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Get Counted! Name:

Extension

*Optional Activity. Create a poster or PSA (public service announcement) to get the word out about the census and the importance of being counted. Be sure to include when the census will be happening, how people can complete it, and two other pieces of information about the census that you think will help your community ensure a complete and accurate count.

1. Read: Get Counted Reading Page --Side A & B

Read Side A & B of the Reading Page

Highlight the section that provides the following information

How government officials use the results of the census

Day 3—Complete Activity Pages—sides A & B

Day 4-- Complete Activity Pages—sides C & D

Day 5—Complete the “Optional Activity” on the Extension Page

Grade 6-8 Art & Music Week 6 D 1-5

Art M-W

Artist of the week: Alma Thomas & Abstract Art

Mon: Read about and view the work of Alma Thomas nd the information page about abstract art.

https://americanart.si.edu/artist/alma-thomas-4778 Alma Thomas

https://wiki.kidzsearch.com/wiki/Abstract_art Abstract Art

Write a reflection on Alma Thomas’ work. How does her work make you feel? What did you notice about it? Do

you think abstract art makes “sense”? Why or why not?

Wed: Using materials available to you, create a new abstract work in the style of Alma Thomas and write a

paragraph on your work. What inspired your work? Why did you select the colors you used? What do you hope

people will feel when they look at your work?

Music T-Th

Listen suggested music style for week 5: Soul & Funk--and take time to reflect on how this music makes you feel.

Do you like it? Why or why not? Do you hear any “root” in modern music from Soul & Funk? Do you hear a

connection in Jazz, Blues and Ragtime?

Tue: James Brown Biography & History of Parliament Funkadelic

How James Brown invented Funk https://www.youtube.com/watch?v=AihgZv1D5-4

Thu: Listen to one or more Soul & Funk greats.

https://www.youtube.com/watch?v=M7DNkovC2Tk Papa’s Got a Brand New Bag, James Brown

https://www.youtube.com/watch?v=szkmivRWegU&feature=youtu.be Atomic Dog, George Clinton

Practice good audience behavior. Make a written reflection on your experience and the music. Critique the form

using music language.

Fri Art: Photo Journal

Materials: any camera (phone, tablet, regular camera, etc.)

Using a camera that you already have, take a daily image or set of images based on a theme, and use words to

reflect on what the image means to you. Save all images and thoughts for a future share/presentation of your

reflections of this time.

Week 6 theme: Reflections

It has been 9 weeks since we went on stay at home for school, starting with an extended 3 week spring break, and 6

weeks of learning outside the classroom. Much has happened since then. Use photographic images to reflect on this

time, and also to explore the concept of reflection itself by taking images in a mirror and noting how that reflection

changes what you see.

Biography and Background Alma Thomas

After working in art education for several years, Alma Thomas enrolled at Howard University in Washington, DC to study costume design. She became the first African American woman to hold a fine arts degree. Following a long career as a teacher, she retired to focus on her own creativity and art. Thomas’s work was included in the important show Contemporary Black Artists in America, held in 1971 at the Whitney Museum in New York. She was the first African American woman to have a solo art exhibition at the same museum. Three years after she died, a retrospective exhibition was held at the Smithsonian Institution’s National Museum of American Art. Besides a distinguished career teaching art for kids, her work can be found in many major museums. What Kids Can Learn From Thomas (Art for Kids)

Alma Thomas loved children and she had an important role in art education. But, she also loved to learn. She was interested in space programs and she often painted from satellite photographs. She often looked at her garden and watched its changes. She could hear the wind playing music in the trees, and she loved to watch the grass color change after the rain. She enjoyed all these changes that inspired her artwork at the same time that she was learning about nature. Her creativity was inspired by science and nature.

Thomas loved to smile and she liked to paint with bright colors. Primary colors were often used in her artwork to make her paintings look happy and vibrant. Thomas brings art for kids by inspiring them to look closely at nature and to use patterns and colors to create art that makes them happy. Can you see the flowers in your neighborhood singing and smiling on a sunny day? Alma Thomas: Painter, inspired by “Iris, Tulips, Jonquils and Crocuses”

General Overview of Abstract Art

The Abstract Art movement took place in the United States. In its purest form, Abstract Art has no subject. It is just lines, shapes, and colors. The Abstract Art movement is called Abstract Expressionism

because, although the art has no subject, it is still trying to convey some kind of emotion.

When was the Abstract Art movement?

The Abstract Expressionism movement began in the 1940s in New York City after World War II. However, the first real Abstract Art was painted earlier by some Expressionists, especially Kandinsky in

the early 1900s.

What are the characteristics of Abstract Art? The main characteristic of abstract art is that it has no recognizable subject. Some Abstract Artists had theories on the emotions that were caused by certain colors and shapes. They planned out their seemingly random paintings to the last detail. Other Abstract Artists painted with emotion and randomness hoping to capture their emotion and subconscious thoughts on the canvas. Examples of Abstract Art Composition II in Red, Blue, and Yellow (Piet Mondrian)

Famous Abstract Artists

Wassily Kandinsky - Kandinsky is considered the father of abstract painting. In an effort to capture sound and emotion in art, he painted some of the first major abstract works.

Piet Mondrian - Mondrian developed an Abstract painting style that involved straight lines and colored rectangles. He called this type of painting "The Style".

Jackson Pollock - Pollock created his paintings without using brush strokes in what would later be called Action Painting. He became famous for his large paintings made with dribbles and splashes of paint.

BACKGROUND READING FOR SOUL AND FUNK MUSIC

SOUL MUSIC was the result of the urbanization and commercialization of rhythm and blues in the '60s.

Soul came to describe a number of R&B-based music styles. From the bouncy, catchy acts at Motown to

the horn-driven, gritty soul of Stax/Volt, there was an immense amount of diversity within soul. During

the first part of the '60s, soul music remained close to its R&B roots. However, musicians pushed the

music in different directions; usually, different regions of America produced different kinds of soul. In

urban centers like New York, Philadelphia, and Chicago, the music concentrated on vocal interplay and

smooth productions. In Detroit, Motown concentrated on creating a pop-oriented sound that was

informed equally by gospel, R&B, and rock & roll. In the South, the music became harder and tougher,

relying on syncopated rhythms, raw vocals, and blaring horns. All of these styles formed soul, which

ruled the black music charts throughout the '60s and also frequently crossed over into the pop charts. At

the end of the '60s, soul began to splinter apart, as artists like James Brown and Sly Stone developed

funk, and other artists developed slicker forms of soul. Although soul music evolved, it never went away

-- not only did the music inform all of the R&B of the '70s, '80s, and '90s, there were always pockets of

musicians around the world that kept performing traditional soul.

NAMED AFTER A SLANG WORD FOR "STINK," FUNK was indeed the rawest, most primal form of R&B, surpassing even Southern soul in terms of earthiness. It was also the least structured, often stretching out into extended jams, and the most Africanized, built on dynamic, highly syncopated polyrhythms. As such, it originally appealed only to hardcore R&B audiences. The groove was the most important musical element of funk -- all the instruments of the ensemble played off of one another to create it, and worked it over and over. Deep electric bass lines often served as main riffs, with an interlocking web of short, scratchy guitar chords and blaring horns over the top. Unlike nearly every form of R&B that had come before it, funk didn't confine itself to the 45-rpm single format and the classic verse/chorus song structure. Funk bands were just as likely to repeat a catchy chant or hook out of the blue, and to give different song sections equal weight, so as not to disrupt the groove by building to a chorus-type climax. In essence, funk allowed for more freedom and improvisation, and in that respect it was similar to what was happening around the same time in blues-rock, psychedelia, and hard rock (in fact, Jimi Hendrix was a major inspiration for funk guitar soloists). The roots of funk lay in James Brown's post-1965 soul hits, particularly "Papa's Got a Brand New Bag" (1965) and "Cold Sweat" (1967). Sly & the Family Stone, who started out as a soul band influenced by rock and psychedelia, became a full-fledged (albeit pop-savvy) funk outfit with 1969's Stand!. However, the record that officially ushered in the funk era was James Brown's epochal "Get Up (I Feel Like Being A) Sex Machine." The arrangement was spare, the groove hard-hitting, and Brown's lyrics were either stream-of-consciousness slogans or wordless noises. Brown followed it with more records over the course of 1970 that revolutionized R&B, and paved the way for the third artist of funk's holy trinity, George Clinton. Clinton's Parliament and Funkadelic outfits made funk the ultimate party music, not just with their bizarre conceptual humor, but their sheer excess -- huge ensembles of musicians and dancers, all jamming on the same groove as long as they possibly could. Thanks to Sly, Brown, and Clinton, many new and veteran R&B acts adopted funk as a central style during the '70s. Funk gradually became smoother as disco came to prominence in the mid- to late '70s, and lost much of its distinguishing earthiness. However, it had a major impact on jazz (both fusion and soul-jazz), and became the musical foundation of hip-hop. Thanks to the latter, funk enjoyed a renaissance during the '90s, especially among white audiences who rushed to explore its original classics.

BACKGROUND READING FOR SOUL AND FUNK MUSIC

SOUL MUSIC was the result of the urbanization and commercialization of rhythm and blues in the '60s.

Soul came to describe a number of R&B-based music styles. From the bouncy, catchy acts at Motown to

the horn-driven, gritty soul of Stax/Volt, there was an immense amount of diversity within soul. During

the first part of the '60s, soul music remained close to its R&B roots. However, musicians pushed the

music in different directions; usually, different regions of America produced different kinds of soul. In

urban centers like New York, Philadelphia, and Chicago, the music concentrated on vocal interplay and

smooth productions. In Detroit, Motown concentrated on creating a pop-oriented sound that was

informed equally by gospel, R&B, and rock & roll. In the South, the music became harder and tougher,

relying on syncopated rhythms, raw vocals, and blaring horns. All of these styles formed soul, which

ruled the black music charts throughout the '60s and also frequently crossed over into the pop charts. At

the end of the '60s, soul began to splinter apart, as artists like James Brown and Sly Stone developed

funk, and other artists developed slicker forms of soul. Although soul music evolved, it never went away

-- not only did the music inform all of the R&B of the '70s, '80s, and '90s, there were always pockets of

musicians around the world that kept performing traditional soul.

NAMED AFTER A SLANG WORD FOR "STINK," FUNK was indeed the rawest, most primal form of R&B, surpassing even Southern soul in terms of earthiness. It was also the least structured, often stretching out into extended jams, and the most Africanized, built on dynamic, highly syncopated polyrhythms. As such, it originally appealed only to hardcore R&B audiences. The groove was the most important musical element of funk -- all the instruments of the ensemble played off of one another to create it, and worked it over and over. Deep electric bass lines often served as main riffs, with an interlocking web of short, scratchy guitar chords and blaring horns over the top. Unlike nearly every form of R&B that had come before it, funk didn't confine itself to the 45-rpm single format and the classic verse/chorus song structure. Funk bands were just as likely to repeat a catchy chant or hook out of the blue, and to give different song sections equal weight, so as not to disrupt the groove by building to a chorus-type climax. In essence, funk allowed for more freedom and improvisation, and in that respect it was similar to what was happening around the same time in blues-rock, psychedelia, and hard rock (in fact, Jimi Hendrix was a major inspiration for funk guitar soloists). The roots of funk lay in James Brown's post-1965 soul hits, particularly "Papa's Got a Brand New Bag" (1965) and "Cold Sweat" (1967). Sly & the Family Stone, who started out as a soul band influenced by rock and psychedelia, became a full-fledged (albeit pop-savvy) funk outfit with 1969's Stand!. However, the record that officially ushered in the funk era was James Brown's epochal "Get Up (I Feel Like Being A) Sex Machine." The arrangement was spare, the groove hard-hitting, and Brown's lyrics were either stream-of-consciousness slogans or wordless noises. Brown followed it with more records over the course of 1970 that revolutionized R&B, and paved the way for the third artist of funk's holy trinity, George Clinton. Clinton's Parliament and Funkadelic outfits made funk the ultimate party music, not just with their bizarre conceptual humor, but their sheer excess -- huge ensembles of musicians and dancers, all jamming on the same groove as long as they possibly could. Thanks to Sly, Brown, and Clinton, many new and veteran R&B acts adopted funk as a central style during the '70s. Funk gradually became smoother as disco came to prominence in the mid- to late '70s, and lost much of its distinguishing earthiness. However, it had a major impact on jazz (both fusion and soul-jazz), and became the musical foundation of hip-hop. Thanks to the latter, funk enjoyed a renaissance during the '90s, especially among white audiences who rushed to explore its original classics.

BIOGRAPHY OF JAMES BROWN: GODFATHER OF SOUL

James Brown, often referred to as “The Godfather of Soul”, was an American singer, musician, dancer and producer. One of the progenitors of funk music, he was one of the most important and influential figures in the history of popular music. Brown has sold more than 80 million albums worldwide.

Born “James Joseph Brown” to an extremely poor family on May 3, 1933, he lived in a small wooden shack in Barnwell, South Carolina. Brown’s family relocated to Augusta, Georgia when he was only four or five. Abandoned by his parents, he was raised by an aunt. Brown learned to play piano, guitar and harmonica at an early age and started singing in talent shows. He also began hustling in the streets to earn a living. Convicted of robbery at age sixteen, Brown was sent to a juvenile detention center in Toccoa.

James Brown started a gospel quartet called “James Brown and the Famous Flames” with his fellow cellmates, including Johnny Terry. They started playing in college campuses and nightclubs. Their song “Please, Please, Please” was an early success and the group was eventually signed by King Records. The single peaked at number five on the Billboard charts. The group reached number one on the R&B chart with “Try Me” in 1959.

Brown became famous for his live performance antics. He used his own money to record Live at

the Apollo in October 1962 over his record company’s reservations. The album became a huge success and reached number two on Billboard Charts. The same year, his single “Night Train” hit number 5 on R&B Charts and number 35 on Pop Charts. With the release of “Cold Sweat”, Brown’s unique sound had begun to be described by the press as funk music.

The emphasis on rhythm in his work infused with the rebellious spirit of the era laid down the anthem of black America’s transition from the civil rights movement to the black power movement. The 1968 hit single “Say It Loud — I’m Black and I’m Proud” is frequently cited as one the most popular civil rights songs. Brown’s career slowed down significantly in 1976, only to rise up again in the 1960s when hip-hop musicians emulated his unique sound as a template to evoke another black music revolution. “The Godfather of Soul” continued to perform and record until his 2006 death from congestive heart failure.

James Brown received numerous of awards and accolades in his career. He has been inducted into the Rock and Roll Hall of Fame, Songwriters Hall of Fame, the New York Songwriters Hall of Fame, and the Georgia Music Hall of Fame. A three-time Grammy-winner, Brown was awarded a Lifetime Achievement Award at the 34th annual Grammy Awards in 1992.

4/6/2020 Parliament-Funkadelic -- Britannica Online Encyclopedia

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Parliament-Funkadelic

Parliament-Funkadelic, 1971.

© Michael Ochs Archives/Getty Images

Parliament-FunkadelicParliament-Funkadelic, also called P-Funk, massive group of performers that greatly influenced thesound and style of funk music in the 1970s. The original members were George Clinton (b. July 22, 1941,Kannapolis, North Carolina, U.S.), Raymond Davis (b. March 29, 1940, Sumter, South Carolina—d. July 5,2005, New Brunswick, New Jersey), Calvin Simon (b. May 22, 1942, Beckley, West Virginia), Fuzzy Haskins(byname of Clarence Haskins; b. June 8, 1941, Elkhorn, West Virginia), and Grady Thomas (b. January 5,1941, Newark, New Jersey). Later members included Michael Hampton (b. November 15, 1956, Cleveland,Ohio), Bernie Worrell (b. April 19, 1944, Long Branch, New Jersey—d. June 24, 2016, Everson, Washington),Billy Bass Nelson (byname of William Nelson, Jr.; b. January 28, 1951, Plainfield, New Jersey), Eddie Hazel(b. April 10, 1950, Brooklyn, New York—d. December 23, 1992), Tiki Fulwood (byname of Ramon Fulwood;b. May 23, 1944, Philadelphia, Pennsylvania—d. October 29, 1979), Bootsy Collins (byname of WilliamCollins; b. October 26, 1951, Cincinnati, Ohio), Fred Wesley (b. July 4, 1943, Columbus, Georgia), MaceoParker (b. February 14, 1943, Kinston, North Carolina), Jerome Brailey (b. August 20, 1950, Richmond,Virginia), Garry Shider (b. July 24, 1953, Plainfield, New Jersey—d. June 16, 2010, Upper Marlboro,Maryland), Glen Goins (b. January 2, 1954, Plainfield, New Jersey—d. July 29, 1978, Plainfield), and Gary(“Mudbone”) Cooper (b. November 24, 1953, Washington, D.C.). The group scored 13 Top Ten rhythm-and-blues and pop hits from 1967 to 1983 (including six number-one rhythm-and-blues hits) under avariety of names, including the Parliaments, Funkadelic, Bootsy’s Rubber Band, and the Brides ofFunkenstein, as well as under the name of its founding father, Clinton.

The band combined the hard rock of Jimi Hendrix, the funkyrhythms of James Brown, and the showstopping style of Sly andthe Family Stone to fashion an outrageous tribal funk experience.P-Funk emphasized the aesthetics of funk as a means of self-fulfillment; to “give up the funk” meant to achievetranscendence.

Organized and produced by Clinton, the original Parliamentsbegan as a doo-wop quintet based in Plainfield, New Jersey. Thegroup’s first charting single, “(I Wanna) Testify,” in 1967 led totheir first tour, but legal problems that arose with the demise oftheir record company resulted in the loss of the group’s name.

Performing throughout the northeastern United States and recording in Detroit, the group began toemphasize its backing band, Funkadelic. Led by bassist Nelson, guitarist Hazel, drummer Fulwood, andclassically trained keyboardist Worrell, Funkadelic incorporated the influence of amplified, psychedelicrock into its distinctive sound.

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By 1970 Clinton was producing albums for both the renamed Parliament and Funkadelic—essentially thesame entity recording for different labels. In the process he recruited key new performers: Collins on bass,Wesley on trombone, and Parker on saxophone (all from James Brown’s band the JBs), along withdrummer Brailey, vocalist Cooper, lead guitarist Hampton, and vocalist-guitarists Shider and Goins.Success came in 1976 with the release of Parliament’s album Mothership Connection and the single “GiveUp the Funk (Tear the Roof Off the Sucker),” which earned a gold record. Other hit singles followed,including “Flash Light” (1977) by Parliament, “One Nation Under a Groove” (1978) by Funkadelic, and“Atomic Dog” (1982) by Clinton.

P-Funk reached its peak in the late 1970s, sporting a massive stage act (with more than 40 performers)that showcased Clinton’s visionary album concepts, Collins’s spectacular bass effects, and Worrell’ssynthesizer innovations. However, by the early 1980s the large overhead and multifaceted legal identity ofthe group led to a collapse of the enterprise.

P-Funk defined the dance music of its time and influenced a range of styles from hard rock to housemusic. The P-Funk catalog is among the most sampled by rap music producers. Parliament-Funkadelicwas inducted into the Rock and Roll Hall of Fame in 1997 and received a Grammy Award for lifetimeachievement in 2019.

Rickey Vincent

CITATION INFORMATION

ARTICLE TITLE: Parliament-Funkadelic

WEBSITE NAME: Encyclopaedia Britannica

PUBLISHER: Encyclopaedia Britannica, Inc.

DATE PUBLISHED: 28 May 2019

URL: https://www.britannica.com/topic/Parliament-Funkadelic

ACCESS DATE: April 06, 2020